DANI MARTI: BOOK OF MIRACLES
That Spanish-born Dani Marti frames his intricate, woven sculptural works in terms of portraiture would e a surprise to most. Constructed from ropes, string, beads and other woven objects, they resemble a kind of median between craft and the cellular form. His new show, Book of Miracles , is no exception. Pairing various sculptures with a revealingly intimate multichannel video work, this has a particularly opulent feel. These works are smaller and more intricate than his recent boldly coloured , wall-sized sculptures. Whites, greys, and sparkling silvers entwine these sculptures; tuffs of faux fur, white reflectors, pearls, beads and flat panels of cool, white enamel-coated steel give off a particular sheen; there are tensions amid the radiance. Holes appear in the weave as if eaten by moths, a twin-headed, beaded phallus slumps on a low plinth, one end resting over the other. While Marti’s practice tends to complicate and call into question the very nature of portraiture, it does a fascinating job of fulfilling the form’s missive
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